The ‘Manifesto for Disordering Listening’ is part of an ongoing investigation which seeks to question both how we listen and how we could listen particularly across genders, cultures, ethnicities, species and ages. The manifesto has been fed by practice-based and scholarly research drawing on the social sciences, cultural studies, feminist and post-colonial theory, oral history and sound arts theory and practice. In this talk I would like to consider some of the significant inputs to its development as well as the manifesto itself which exists as a fluid series of statements for discussion rather than as declaration of a fixed position.